1852-1896 Theodore Robinson (July 3, 1852 ?C April 2, 1896) was an American painter best known for his impressionist landscapes. He was one of the first American artists to take up impressionism in the late 1880s, visiting Giverny and developing a close friendship with Claude Monet. Several of his works are considered masterpieces of American Impressionism. In 1884 Robinson returned to France where he would live for the next eight years, visiting America only occasionally. Robinson gravitated to Giverny, which had become a center of French impressionist art under the influence of Claude Monet. La Debacle, 1892, collection: Scripps College, Claremont, CaliforniaHistorians are unclear when Robinson met Monet, but by 1888 their friendship was enough for Robinson to move in next door to the famous impressionist. Robinson's art shifted to a more traditional impressionistic manner during this time, likely due to Monet's influence. While a number of American artists had gathered at Giverny, none were as close to Monet as Robinson. Monet offered advice to Robinson, and he likewise solicited Robinson for opinions on Monet's own works in progress. At Giverny, Robinson painted what art historians regard as some of his finest works. These depicted the surrounding countryside in different weather, in the plein air tradition, sometimes with women shown in leisurely poses. An example of his mature work during this period is La Debacle (1892) in the collection of Scripps College, Claremont California.  Related Paintings of Theodore Robinson :. | Angelus | Union Square in Winter | Angelus | Valley of the Seine | The Watering Pots |
Related Artists:
Cornelis van Dalem
1535-1576 Dutch Cornelis van Dalem Location Flemish painter. He was the son of a well-to-do cloth merchant living in Antwerp, but of Dutch origin. Cornelis received a humanistic education. His father, who owned land in Tholen, as a vassal to the Counts of Holland and Zeeland, was dean of the chamber of rhetorics De Olijftak (The Olive Branch) in Antwerp in 1552-3. According to van Mander, Cornelis was himself learned in poetry and history and only painted as an amateur, not for a living. Documents in the Antwerp archives invariably refer to him as a merchant, never as a painter, which no doubt accounts for the small number of known paintings by him. He learnt to paint with an otherwise unknown artist, Jan Adriaensens, who had also taught his older brother Lodewijk van Dalem ( fl 1544-85). The latter was inscribed as a pupil in 1544-5 and became a master in the guild in 1553-4. Cornelis was himself inscribed a year after his brother, and he became a master in 1556, the same year he married Beatrix van Liedekercke, a member of an Antwerp patrician family. They lived in Antwerp until late 1565, when, apparently for religious reasons, they left for Breda, together with the artist mother, who had become a widow in 1561. In 1571 several local witnesses testified that van Dalem, who was then living in a small castle, De Ypelaar, in Bavel, near Breda, was strongly suspected of being a heretic. He was never seen in church and was said, on the contrary, to have often attended Protestant services and to have publicly expressed contempt for Papists.
Eugene Delahogue
1867-1935
Albert Baertsoen
Belgian, 1866-1922.Belgian painter and etcher. The son of a successful mill-owner and an excellent musician, he was a pupil and friend of Gustave Den Duyts (1850-97), and later, at the Ghent Acad?mie, of Jean Delvin (1853-1922). He was involved in the exhibiting society LEssor in Brussels as well as the triennial salons held in Brussels, Antwerp and Ghent in rotation. Among his earliest important works are The Scheldt at Dendermonde (1887; Ghent, Mus. S. Kst.), which he painted beside Isidore Meyers (1836-1917) and Franz Courtens in a Realist style characteristic of the Dendermonde school. In 1889-90 he attended the studio of Alfred Roll in Paris, where he met Jacques-Emile Blanche and Charles Cottet, and became particularly closely associated with Frits Thaulow, Emile-Ren? M?nard and Edmond Aman-Jean. He exhibited regularly at the Salon in Paris. Although Baertsoen is considered to be one of the first Belgian Impressionists, he belonged to no particular school. He was more than a descriptive landscape painter, for he sought to evoke through the depiction of the natural world a mood of melancholy and resignation. He painted silent streets, rocks, rivers and canals in Bruges, Li?ge, Nieuwpoort, Diksmuide and in London, where he stayed during World War I. His most important paintings, however, were inspired by his native town, Ghent, of which he built up a remarkable portrait over the years in such works as Barges in the Snow (1901) and Ghent in the Evening (1903; both Brussels, Mus. A. Mod.). A broad, spontaneous technique, great delicacy of nuance, deep sincerity as well as a certain meditative quality characterize his work, which is limited in quantity. Baertsoen played an important role in Belgian cultural life of his period and was elected to the Acad?mie Royale des Beaux-Arts in 1919.